An outlaw country king is honored with a full-featured phaser that dishes his signature swoosh and many more modulation moods.
Few artists can lay claim to defining the sound of a genre, but Waylon Jennings is the undisputed outlaw of outlaw country. Defining a tone all his own drenched in a signature sweeping phase-shifting effect, Waylon toured through the most prominent phaser effect pedals that the ‘70s and ‘80s had to offer. And now the Waylon Jennings Phaser pedal takes you along for that same ride by emulating the stomp boxes he used to forge his own path.
Building on Fender’s original four-stage phaser circuit developed in the 1970’s, the Waylon Jennings Phaser provides three distinct flavors of phasing by switching between two, four, or six phase stages. When combined with the Range and Feedback controls, these three phase voices cover the gamut of phasing tones used by Jennings on stage and in studio. Skip right to the good stuff and turn on the Sweet Switch to jump right to the “sweet spot” of clean signal mixed with phase-shifting tones, perfect for adding the right amount of flavor to your favorite cowboy chords. Whether you’re looking to nail Waylon’s signature tone, or find a new one all your own, the Waylon Jennings Phaser can dial in just the right phase for you.
Features
- Original, all-analog Fender circuit replicates vintage phaser tones and beyond
- Phase Switch selects between 2, 4, and 6 stages of phasing
- Sweet Switch jumps right to the “sweet spot” of phaser tones
- Road ready aluminum chassis
- Top Mount Input/Output Jacks and True-Bypass Switching
- Powered by 9-Volt Battery or Center Negative AC Adaptor (Not Included)
Smart interface design makes exploring traditional modulation tones and deeply tweaked sounds an intuitive joy.
Gazillions of possible modulation tones from trad’ to bizarre. Well-designed interface. Rich basic sounds. Easy to use in conventional settings.
Some study required to maximize pedal potential. Some weirder lo-fi sounds betray digital artifacts.
$349
Walrus Audio Mako M1
walrusaudio.com
Depending on your appetite for adventure, the Walrus Audio M1 modulation machine can look like a thrill ride or a very nasty little thing. The knobs and switches—as well as the graphics and text that describe their function—are packed like sardines onto the face of the pedal. And depending on your settings, the two bright LEDs can pulse like an entire Fillmore liquid light show stuffed into two little fish eyes.
If simplicity is your muse for the moment, M1 might not be the best travelling pal. But before you move on too fast, plug the M1 in. Twist any one of those knobs any direction you’d like and play a simple D chord. My guess is that, as terrifying as the M1 might look, it’ll take just that one strum to hook you. Because the M1 is fun. Lots of fun. And even if you never use its deep and impressive sound-crafting tools to fullest potential, the M1’s sounds and smart design still make it a cornucopia of easy-to-source, immersive modulations.
Walrus Audio Mako M1 Review by premierguitar
- Three chorus voices: Traditional, dual chorus, and tri-chorus, each played at various depth and rate settings with occasional tweaks to lo-fi and tone settings.
- Three vibrato voices: Traditional vibrato, vinyl record, tape vibrato, and pattern tremolo each played at various depth and rate settings with occasional tweaks to lo-fi and tone settings.
- Three tremolo voices: traditional tremolo, harmonic tremolo, and pattern tremolo each played at various depth and rate settings with occasional tweaks to lo-fi and tone settings.
Damn the Navigation Aids! Full Speed Ahead!
I could spend most of the space in this review describing the primary and secondary functions governed by the M1’s 11 switches, knobs, and toggles (not to mention the stereo I/O, MIDI in/thru jacks, and a USB jack for firmware updates). But the M1 is deep enough that the job is best left to the thorough, downloadable manual available on the Walrus web site. This excellent piece of documentation is worth cruising even before you buy the M1 to see if the deeper functions merit your investment. However, if you choose to take the plunge and explore M1 as intuitively as possible, the manual is a well-written map for your trip through modulation wonderland. Should you meander too far from the trail, it’ll likely get you back on track fast.
At the M1s core are six modulation voices. Chorus, phase, tremolo, vibrato, and rotary speaker sounds are all represented along with a modulated filter setting. Each voice spans pretty and demented sounds, and each is full of surprises. In their most traditional incarnations, the digital emulations of analog effects are beautifully accurate and replete with rich overtone detail. Secondary functions abound on the M1 and making the most of them really does require some study of the manual. But one of the best things about the M1’s designs is that if you get into the weeds with these secondary functions, it’s generally easy to get back on track using the pedal’s rate and depth modes, which lends a sense that it’s OK to proceed fearlessly.
Even in small measures, many of the lo-fi sounds can shape straightforward modulation in very cool ways.
Diving for Pearls
If and when you do get the courage to explore M1’s deeper possibilities, there’s much to enjoy. The primary path to this deeper functionality comes via the tweak and tune knobs and their associated switches. Both controls change function depending on what you select with the switch below. Tweak enables you to choose between sine, triangle, and square waveshapes; quarter-note, triplet, and eighth-note tap divisions (there are a wealth of subtle rhythmic textures here); or one of three modes for each basic program. These modes include tri-chorus in chorus mode, different horn/drum virtual miking configurations in rotary mode, tape- and warped-vinyl-inspired vibratos, harmonic tremolo, and high, low, and bandpass filters in the filter program, just to name a few. On the tune side, the 3-way switch enables the knob to be configured for adjustments to tone, wave symmetry, or “X” functions that include everything from stereo phase effects to phaser feedback and tape flutter. Should you start to worry about losing your place as you get into these deeper realms, remember that the M1 has the capacity for nine onboard presets (easily accessed using the A/B/C bank switch and the two footswitches in concert) and 128 total presets via MIDI.
Yet another realm of tone possibilities lives in the lo-fi strata of functionality. Accessing these functions on the fly is a little more cumbersome as they require selecting a function via the 3-way switch, holding down the bypass footswitch, and then using the tweak or tune knob to add the lo-fi element to taste. Not all these functions will serve all players. A lot of them tend toward the noisy, junky, and weird side of the sound spectrum. But even in small measures, many of the lo-fi sounds, like age, space (reverb), drive, and noise, can shape straightforward modulation in very cool ways. Once set up it’s easy to mix in these textures with the lo-fi knob. Don’t be afraid to set up highly weird sounds and add them incrementally.
The Verdict
One of the M1’s great achievements is that it can serve two muses—the obsessive, micro-level sound designer, and the reckless, intuitive sound tripper—simultaneously. This is no insignificant thing. And Walrus deserves praise for accomplishing this design feat in a compact stompbox. But the highest praise may be due for Walrus’s ability to make M1 so much fun and so sonically satisfying. And Walrus’s ability to walk this engineering and design tightrope makes the otherwise steep-looking $349 price a relative bargain.
The PG Dawner Prince Pulse review.
Deep, thick, luxurious rotary simulations—particularly in stereo. Super intuitive and easy to use.
Side mounted output gain pots are useful but awkward to access.
$339
Dawner Prince Pulse
dawnerprince.com
When you think about David Gilmour's guitar sounds, you tend to think of big Hiwatts, creamy Big Muff or blazing Fuzz Face tones, and Echorec delays bouncing infinitely off the columns of Roman amphitheaters.
But modulation has always been an equally foundational part of Gilmour's outsized sound picture. And while he's probably most famously associated with the Electro-Harmonix Electric Mistress when it comes to signal wobbling, he has embraced rotary speakers regularly since 1969. For much of his career, Gilmour used Leslie 147s or Yamaha RA-200s in this role. But at some point, he started to work with the Maestro Rover—an unusual stand-mounted rotating speaker that his technicians would use as inspiration for his more powerful, custom Doppola units. By the mid '90s—a period that looms large for Gilmour tone hounds of a certain breed—the Maestro and Doppolas were elemental parts of his sound.
Recorded with Squier HH Jaguar, Fender black panel Tremoloux head through Universal Audio OX using Fender Tweed 12" cabinet emulation.
First segment moves from slowest rate to fastest, uses closest possible mic' proximity setting, and wet/dry mix at noon.
:43 - Moves from slow speed at 10 0'clock to fast rate at 2 o'clock, uses furthest mic proximity setting, mix at maximum
1:27 - Moves from slow speed at 10 0'clock to fast rate at 2 o'clock, uses closest mic proximity setting, mix at maximum
If the name wasn't hint enough, Dawner Prince's Pulse pays homage to this sound in a loving and well-executed way. But even if you aren't out to replicate Gilmour modulation textures from The Division Bell and Pulse, this Croatian company's exceptional rotary simulator is a fine way to introduce the immersive, extra-liquid textures of a rotary speaker to your signal chain without hauling a cumbersome antique and its own team of mechanical medics.
Surprising Simplicity
With five staggered knobs, two footswitches, stereo outs and an expression input, the Pulse looks more complex than it is. In reality, it's very intuitive to use. And even superficially esoteric controls like the distance knob (which shifts the proximity of the virtual "mic" picking up the rotary speaker signal) and the inertia knob (which regulates the rate of the virtual speaker's acceleration or deceleration) have a very organic, natural feel and are simple to add and modify to taste. The more straightforward controls are satisfying to use, too. The slow and fast speed controls have great range (the modulation rate spans .4 to 8 virtual speaker rotations per second). You can toggle between fast and slow rates using the fast-slow footswitch and you don't have to worry about "progamming" a fast or slow preset—the switch simply ramps up or down (at a rate prescribed by the inertia control) between whatever speeds you've set on the respective knobs.
Dawner Prince also accounted for the possibility of perceived volume loss at some of the most intense modulation levels by mounting small gain pots adjacent to each output jack. You need a small flathead screwdriver to adjust them. Obviously, top-mounted knobs would be user friendly, but I was generally pleased with the output level at maximum modulation intensity. And on the whole, I'd venture that Dawner Prince made a smart compromise between cluttering the main control panel and concealing these pots inside the enclosure.
Worlds of Whirl
If you had to briefly characterize what sets the Pulse apart from lesser rotary simulators, it would be the deep and real sense of motion that pedal communicates. This quality is especially apparent if you take time to set it up for stereo output, which I did through two amplifiers as well as a DAW.
The Pulse's output very effectively replicates the complex interactions between fundamentals and overtones that occur when moving air and speakers are added to a tone equation.
These highly kinetic qualities don't just come from bouncy stereo pictures, however. Even in mono, the Pulse's output very effectively replicates the complex interactions between fundamentals and overtones that occur when moving air and speakers are added to a tone equation. At the right settings, you can almost see and feel the rise, dissipation, and passing of sound as bodies and particles (entirely without pharmaceutical assistance, I might add). It's a very visceral way to experience a guitar sound, and it comes pretty close to the thrill of parking your head right by a rotary speaker in motion.
The harmonic complexities and kinetic sensations generated by the Pulse are best enjoyed, at least to my ear, at slower settings where it's easier to perceive the bloom of these sounds. And even though the Pulse's fast modulation settings generate very rich, throbbing pulses, I preferred to keep my fastest modulation sounds on the slower side so I could bask in the dimensionality of the sound picture.
The Pulse also excels at walking the fine line between the practical and the ridiculous. Even the most modulation-heavy mix settings are never overbearing. And while you can generate relatively extreme metallic high-mid peaks in the modulation by bringing the virtual mic proximity in close and cranking the mix, these sounds still have a full-spectrum richness and help the Pulse achieve some of the funkier sounds you hear from Leslies and Fender Vibratones.
The very-well-made Pulse is also super quiet, by the way. I wouldn't hesitate to try it on other instruments or vocals in a mix situation.
The Verdict
If you're chasing realistic rotary speaker tones in a stompbox, the Pulse will likely pay back the extra money you'll spend. The sense of real mechanical motion and dimensionality is perceptibly stronger than a lot of digital rotary simulations I've played. And while the Doppola/Rover-based tone emphasis does give the Pulse a unique voice, it rivals the best high-end Leslie emulators I've encountered in terms of realism and atmosphere.
